If there’s a day of uncontaminated enthusiasm on the NFL calendar it’s the first day of training camp. Everyone’s healthy, everyone’s hopeful, and the Super Bowl is seemingly in reach for everyone.
A few thousand Chargers fans were at the team facility Wednesday to watch the inaugural practice, and afterward coach Jim Harbaugh and many of the players stuck around to sign autographs, pose for selfies and make small talk. It was the kind of scene unfolding all around the NFL.
“It was amazing,” said All-Pro safety Derwin James of the practice. “Kind of like the first day of school.”
Were they to receive a grade for their first two seasons under Harbaugh, the Chargers might get an incomplete. They played well enough to make the playoffs in both seasons — overcoming a dizzying array of injuries on the offensive line a year ago — yet failed to show up in the postseason, suffering lopsided losses at Houston and New England.
Harbaugh said the first day of camp feels like “Christmas morning” to him. When asked whether the entire team was full speed and ready to go, he made the analogy of an airplane gathering speed down a runway before achieving flight. There’s a deliberate ramp-up to the intensity of training camp, he said.
So now it begins again, and with a rebooted offensive line with two of the most promising bookend tackles in the game, first-round picks Rashawn Slater and Joe Alt, both of whom were sidelined for most or all of last fall.
Slater suffered a season-ending knee injury in training camp. Alt missed three games with a high-ankle sprain in Week 4, then suffered a more severe injury to the same ankle upon his return.
For those players in particular, each medically cleared to return, every day off crutches is a good day.
That said, Slater is determined not to dwell on what happened a year ago.
Chargers fan Christian Cavanias cheers while attending the team’s training camp in El Segundo on Wednesday.
(Allen J. Schaben / Los Angeles Times)
“I’ve been injured before in the NFL, and I learned a lot from that experience,” he said. “I don’t think analyzing it any deeper than what it was is really worthwhile. I attacked the rehab and moved on, didn’t really give any thought to it. Trying to set the tone for the season, show up and be the best version of myself I can be.”
A healthy offensive line isn’t the only big change for the Chargers. They have a new offensive coordinator in former Miami Dolphins coach Mike McDaniel, and a new defensive coordinator in Chris O’Leary, who is replacing his mentor, Jesse Minter, new coach of the Baltimore Ravens.
McDaniel began making small adjustments to Justin Herbert’s footwork during organized team activities, and those changes have become second nature for the Chargers quarterback.
“I’ve had a few weeks as well to work on it when I was back home,” Herbert said. “I thought it was a great time to be able to master my footwork, and then to come back out and just play fast and not have to worry about it.”
Chargers quarterback Justin Herbert speaks during a news conference at training camp on Wednesday.
(Allen J. Schaben / Los Angeles Times)
Like Harbaugh, McDaniel has the kind of boundless energy that almost has him looking like a player when the team is running drills.
“He’s all hands on,” James said of McDaniel. “I feel like he’s almost out there running the route, how close he is to the receiver sometimes.”
McDaniel needles the other side of the ball too, James said, warning defenders to be ready for a deep pass before hitting them with a quick out.
“He’s playing some mind games,” James said with a smile. “It’s cool, though.”
Chargers free safety Derwin James speaks to reporters at training camp on Wednesday.
(Allen J. Schaben / Los Angeles Times)
There was a bit of buzz at camp about Herbert getting engaged to girlfriend Madison Beer, with the couple posting photos Tuesday of the proposal, complete with the quarterback dropping to a knee to pop the question.
Harbaugh called the development “awesome” and said the coaching staff didn’t know in advance. He said Herbert had mentioned earlier in the summer that a proposal was coming, but didn’t let the coaching staff know about the particulars until after it happened.
For his part, Herbert conceded that he was more nervous about proposing than he was before the first start of his NFL career. Then again, he had a lot more time to dwell on asking his girlfriend than he had to prepare for playing, as he was immediately pressed into action on the Sunday of his NFL debut.
Not every summer movie needs to be a mystery that unfolds hallway after hallway, with a creature hiding around every corner ready to pop out. But maybe the best one is: “Backrooms,” opening May 29 and directed by 20-year-old phenom Kane Parsons. We chatted with him about how he got to make his big debut for A24. Apart from that inspiring story, what can we hope for at the multiplex? We asked our staffers for their dreamiest expectations and they didn’t hold back: space epics, Matt Damon in a helmet and, yes, a “Jackass” movie. Read on and let this be your guide.
‘The Mandalorian and Grogu’
(May 22)
Pedro Pascal, left, and Sigourney Weaver in the movie “The Mandalorian and Grogu.”
(Lucasfilm)
TV’s “The Mandalorian” premiered in 2019 and was the first live-action series in “Star Wars” history. Now, the next adventure of the fierce bounty hunter and his adorable young charge will be the franchise’s first big-screen installment since the sequel trilogy wrapped with “Episode IX — The Rise of Skywalker.” I, for one, am excited that Grogu, with all his snackish charm, has been promoted to title-character status along with Pedro Pascal’s more stoic Din Djarin. The movie will also introduce Sigourney Weaver as Col. Ward, a former Rebellion pilot turned New Republic leader, and Jeremy Allen White as grown-up Rotta the Hutt, Jabba’s son, who debuted as an infant in the animated “Star Wars: The Clone Wars.” — Tracy Brown
‘Masters of the Universe’
(June 5)
Nicholas Galitzine in the movie “Masters of the Universe.”
(Giles Keyte / Amazon MGM Studios)
Our opinions of Hollywood’s dip into the nostalgia well may vary, but it’s easy to want to feel the kind of joy that a game or toy brought us when the world felt less complicated. He-Man’s best stories so far may have been on animated TV, but I have enough childhood memories of smashing the character’s action figure against others that I’m curious about how he’ll play in the big-screen sandbox. Starring Nicholas Galitzine as a wayward Prince Adam trapped on Earth, “Masters of the Universe” adds a contemporary twist and some modern sensibilities to the lore. With Laika Studios vet and “Bumblebee” director Travis Knight at the helm, I’m expecting a sweet balance of humor and heart. — Tracy Brown
‘Disclosure Day’
(June 12)
Emily Blunt in the movie “Disclosure Day.”
(Niko Tavernise / Universal)
Nearly half a century after “Close Encounters of the Third Kind” and decades on from “E.T.” and “War of the Worlds,” Steven Spielberg is still looking to the skies — and we still want to know whether to be excited or terrified by what he sees. His latest brings extraterrestrial life into the realm of ’70s conspiracy thrillers. (Screenwriter David Koepp has compared it to paranoia pieces like “Three Days of the Condor.”) Emily Blunt plays a Kansas City meteorologist who begins receiving a signal from beyond Earth, while Josh O’Connor is a government employee on the run with information that powerful people are trying to keep hidden. If Spielberg’s earlier UFO movies gave us awe, comfort and catastrophe, this one feels like an encounter of a fourth kind: What happens when the cover story breaks? — Josh Rottenberg
‘The Death of Robin Hood’
(June 19)
Hugh Jackman in the movie “The Death of Robin Hood.”
(A24)
Go to the beginnings of Hollywood and there are Robin Hood movies: Douglas Fairbanks, Errol Flynn, some shorts from even earlier. And it’s a safe bet that, as long as there’s pull to the idea of stealing from the rich and giving to the poor, there will be more to come. Quietly, writer-director Michael Sarnoski has made a niche for himself as a storyteller of regrets, of roads not taken. His 2021 restaurant memory drama “Pig” gave Nicolas Cage his subtlest dialogue in years, while “A Quiet Place: Day One” had no business being as believably haunted as it was. Sarnoski is the perfect person to do a retelling tilted toward the end of a rampager’s life. Hugh Jackman embodies the role with a rough dignity. — Joshua Rothkopf
‘Leviticus’
(June 19)
Stacy Clausen, left, and Joe Bird in the move “Leviticus.”
(Neon)
Unlike many tales of demonic possession, Adrian Chiarella’s feature debut lingers in the mind for being so recognizably close to home; it doesn’t need to crab-walk into the room, spin its head 360 degrees and announce itself as evil. In a small, backwards Australian community, coming of age and coming out evince fear in the Christian townsfolk. Two teenage boys (Stacy Clausen and “Talk to Me’s” writhing standout Joe Bird) keep their attraction to themselves. Even so, a violent curse bedevils them, a sophisticated feat of careful writing and directorial sensitivity that sets Chiarella apart from the gorehounds. Let’s also cheer the return of Mia Wasikowska, stepping back confidently. — Joshua Rothkopf
‘Maddie’s Secret’
(June 19)
John Early in the movie “Maddie’s Secret.”
(Magnolia Pictures)
An affectionate throwback to overly earnest TV movies (and a knowing send-up of over-the-top bad-girl flicks), this film marks the feature debut as writer-director for comedian John Early, who also stars. With a cast drawn from comedy-scene friends such as Kate Berlant and Conner O’Malley all tuned into a very specific wavelength, the movie somehow surpasses conventional notions of camp and irony to exist in a genuinely unique space all its own. As Maddie, an aspiring L.A. food influencer battling a secret eating disorder, Early’s performance will undoubtedly remain one of the most distinctive and original of the year, by equal turns outrageously funny and tenderly vulnerable, often in the same moment. — Mark Olsen
‘The Invite’
June 26
Olivia Wilde, Seth Rogen, Penélope Cruz and Edward Norton in the movie “The Invite.”
(A24)
Olivia Wilde’s dinner-party dramedy made good on its considerable promise when it premiered at Sundance in January, earning a standing ovation and tears (of relief? joy?) from Wilde as she took the stage. Wilde and Seth Rogen play longtime marrieds harboring a laundry list of resentments who host their upstairs neighbors (Penélope Cruz, Edward Norton) for an evening of fun. At least it starts off that way, but of course, the gathering quickly sours, leaving us rubbernecking the damage. Wilde navigates the tonal shifts with authority, delivering surprises along the way, including an ending that somehow delivers hope for the institution of wedlock. Am I overselling it? Would I cry Woolf to you? — Glenn Whipp
‘Jackass: Best and Last’
(June 26)
Johnny Knoxville, right, in the movie “Jackass: Best and Last.”
(Paramount Pictures)
Johnny Knoxville and his band of professional bad decision-makers are calling this one their final hurrah and, really, can you blame them? The original “Jackass” crew are now in their 50s, long past the point when being shot out of cannons and zapped with tasers seems like a sensible career plan. Knoxville himself was hospitalized with a brain injury after being flipped by a bull during the filming of 2022’s “Jackass Forever” and has said he can’t risk another concussion. This send-off mixes new stunts with archival footage, promising the usual outlandish pranks and blunt-force impacts to sensitive bodily regions. If this really is the end for the franchise, it’s hard to argue they didn’t push it as far as it would go. — Josh Rottenberg
‘Supergirl’
(June 26)
Milly Alcock in the movie “Supergirl.”
(Warner Bros.)
No diss to last summer’s charmingly square “Superman,” but the funniest scene in the movie was Milly Alcock’s 45-second cameo as Kal-El’s cousin Kara, who stumbled into his Fortress of Solitude to collect her dog Krypto still hungover from an outer-space bender. (“This is why he has behavioral issues,” Superman said with a sigh.) Now, she and the mutt have their own movie and zero pressure to represent truth, justice and a better tomorrow. Ana Nogueira’s script appears to be a riff on the 2021 comic-book miniseries “Supergirl: Woman of Tomorrow,” in which the blond‘s birthday bacchanal takes a U-turn after Kara aligns with an alien child (young Eve Ridley from “3 Body Problem”). It’s basically an intergalactic “True Grit.” My one concern is that director Craig Gillespie made the too-squishy “Cruella.” Here’s hoping “Supergirl’s” tone is more sour than sweet. — Amy Nicholson
‘The Odyssey’
(July 17)
Matt Damon in the movie “The Odyssey.”
(Melinda Sue Gordon / Universal Pictures)
As the follow-up to his “Oppenheimer” — which won Oscars and made nearly $1 billion — Christopher Nolan has gone from an ambitious story about the creation of the nuclear bomb to an even more ambitious story rooted in the origins of literature. Adapting Homer’s ancient Greek saga, Nolan has created an epic to end all epics: the tale of a king struggling to return home after years away at war. With an absolutely stacked cast and told at a massive scale, “The Odyssey” indicates that Nolan seems to trust that modern audiences will respond to a 3,000-year-old tale, and that some aspects of the human experience truly are eternal. — Mark Olsen
‘I Want Your Sex’
(July 31)
Cooper Hoffman and Olivia Wilde in the movie “I Want Your Sex.”
(Lacey Terrell / Magnolia Pictures)
A new Gregg Araki movie loaded with sex and bad choices? What a rare and wonderful summer treat. (It’s the indie provocateur’s first feature in more than a decade.) An unhinged Olivia Wilde as the ultimate bad boss — an art star hoping to recapture some edge — gets you in the door. But Araki has shaded in the margins masterfully, with vivid supporting turns by Chase Sui Wonders, Daveed Diggs and the now-ubiquitous Charli XCX. And it’s Cooper Hoffman, in a performance as flustered as his impresario in “Licorice Pizza” was confident, who commands the movie, topping from the bottom. Araki’s sensibility is, if anything, wiser now, though he’d probably flinch at the word. Brace for inappropriateness. — Joshua Rothkopf
‘Spider-Man: Brand New Day’
(July 31)
An image from the movie “Spider-Man: Brand New Day.”
(Sony Pictures)
It’s been five years since our friendly neighborhood webslinger’s last big-screen adventure and a lot has changed in the Marvel Cinematic Universe. But it appears things have pretty much stayed the same for Peter Parker (Tom Holland). His last adventure involved him staving off a multiversal crisis by making everyone in the world forget him, including his best friends MJ (Zendaya) and Ned (Jacob Batalon). “Spider-Man: Brand New Day” picks up a few years later, with Peter still protecting the streets of New York as a masked superhero while his friends continue to live their lives unaware of what he once meant to them. Can some mutating DNA be the catalyst for a happy reunion? I hope so. — Tracy Brown
‘One Night Only’
(Aug. 7)
Monica Barbaro and Callum Turner in the movie “One Night Only.”
(Nicole Rivelli / Universal Pictures)
“The Purge”… but hot? That’s the pitch behind Will Gluck’s high-concept romantic comedy in which singles are eager to hook up on the one night a year when premarital sex is legal. The original story by Travis Braun was ranked No. 1 on the 2024 Black List of the best unproduced screenplays. While “that Gluck magic” doesn’t have quite the flow of the “Lubitsch touch,” he’s already directed one of the best modern rom-coms (“Easy A”) and one of the most lucrative (“Anyone but You”). Those films crowned Emma Stone and Sydney Sweeney as official movie stars. I’d love to see this film’s ingenue, Monica Barbaro, ascend to their ranks. Barbaro excelled in the Bob Dylan biopic “A Complete Unknown,” where her hard-to-impress Joan Baez earned her an Oscar nod for supporting actress. This is her chance to seduce the audience as well as her onscreen co-star Callum Turner. I’m eager to commit. — Amy Nicholson
‘Teenage Sex and Death at Camp Miasma’
(Aug. 7)
Hannah Einbinder, left, and Gillian Anderson in the movie “Teenage Sex and Death at Camp Miasma.”
(Ryan Plummer / Mubi)
Jane Schoenbrun has become one of the freshest new voices in American independent filmmaking with 2021’s “We’re All Going to the World’s Fair” and 2024’s “I Saw the TV Glow,” transforming pop-culture obsessions into emotional explorations of identity and self-discovery. Promising to turn the summer camp slasher movie inside-out, their latest effort is about an up-and-coming director (“Hacks” star Hannah Einbinder) who entreats a faded scream queen (Gillian Anderson) to return to the horror franchise that once made her a star. Einbinder and Anderson locked into a psychosexual transference story already feels plenty potent. Put that setup in the anything-goes hands of Schoenbrun and it should make for a combustible combination of genre, persona, desire and fun. — Mark Olsen
‘The End of Oak Street’
(Aug. 14)
From left, Ewan McGregor, Christian Convery, Maisy Stella and Anne Hathaway in the movie “The End of Oak Street.”
(Warner Bros. Pictures)
Do you ever look out your window and, tired of the same old view, long that you could just pick up and live somewhere else? I don’t know if Anne Hathaway’s character in David Robert Mitchell’s “The End of Oak Street” has ached for that kind of change, but it sure seems to have found her and her family in this tale of a suburbia transported to … prehistoric times? To another dimension, a dimension of sound, a dimension of sight, a dimension of mind? I do not know. I do not want to know. I do know that there is a dinosaur giving chase. And Ewan McGregor looks alarmed. And Mitchell is the weirdo writer-director behind “It Follows” and “Under the Silver Lake.” That’s all I need. — Glenn Whipp
‘The Dog Stars’
(Aug. 28)
Jacob Elordi in the movie “The Dog Stars.”
(Fabio Lovino / 20th Century Studios)
Director Ridley Scott long ago secured his place in film history with “Alien,” “Blade Runner” and “Gladiator.” The fact that he’s still at it at 88 makes each new film feel like an event. His latest adapts Peter Heller’s 2012 novel set in the aftermath of a pandemic that’s nearly wiped out humanity. Jacob Elordi, hot off “Frankenstein,” plays Hig, one of the few immune survivors, a pilot living at an abandoned airfield with his dog and a heavily armed survivalist (Josh Brolin). Hig’s days are spent flying perimeter patrols, scanning for signs of life — or trouble — until he encounters Margaret Qualley’s Cima, a medic guarding her own small foothold in the ruined world. Scott has called the film hopeful, which may be the most intriguing part: a post-apocalyptic story about why anyone bothers to keep going. — Josh Rottenberg
